Beauty Behind the Madness tries to cash in on the Toronto R&B singer’s dead-eyed hedonist persona, but is at its best when it lightens up.
At the height of her career, the beautiful young performer accidentally stumbled into a power struggle between Hollywood communists and McCarthyites.
Bruce Springsteen’s breakout album embodied the lost ‘70s—the tense, political, working-class rejection of an increasingly unequal society.
E•MO•TION tackles romance with precision, clarity, and supreme exuberance.
Straight Outta Compton attempted to bolster his legacy by leaving part of it out.
It’s the new circle of life: Stars sing the songs that they and fans grew up on, and no one’s embarrassed.
The president has implicitly endorsed the music-streaming service, which could go a long way for the Swedish startup.
The N.W.A. biopic captures how racial politics and police violence fueled the legendary group’s rise. It’s also a reminder of how few mainstream rappers take on the same subjects in their music today.
Meryl Streep stars as a troubled musician in a strangely gentle family-reconciliation dramedy.
The least relevant criticism someone can make of a superstar is that they’re not self-made.
Titus Andronicus’s The Most Lamentable Tragedy makes a wrenching personal struggle sound triumphant.
On “Back to Back Freestyle” and “Charged Up,” the rapper forgoes the high road in his beef with Meek Mill.
The country singer’s follow-up to 2013’s Like a Rose is a confident layering of whiskey-soaked angst and lyrical contentment.
One star uses the pretext of female solidarity to try and shut down another’s frustration with the music industry.
A strange, small gift of an album for a strange, vast universe
The new album Currents raids psychedelic music history to make a strangely powerful philosophical point.
It’s the anti-‘I Kissed a Girl,’ which is a good thing.
The 1985 all-star benefit concert gave rise to the trend of high-profile, celebrity-endorsed charitable efforts, and changed the nature of fundraising in the process.
Highlights from seven days of reading about entertainment
In 1964, an Atlantic writer argued that the new youth sound was anything but revolutionary.